STUDENT GUIDE 2010 2010 - United Capoeira Association (UCA) A Project of the Capoeira Arts Foundation - Tucson Capoeira
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2010 STUDENT GUIDE © 2010 - United Capoeira Association (UCA) A Project of the Capoeira Arts Foundation
Table of Contents
Welcome................................ 03 1900s Street Capoeira............. 19
Abbreviated Summary........... 05 Capoeira Regional................... 20
Levels of Development........... 06 Capoeira Angola...................... 22
Required Techniques............. 08 Present Day Capoeira.............. 23
Fundamentals & Rules........... 11 About the Music....................... 24
Capoeira Arts Foundation...... 14 Moving Through the Levels..... 32
About Capoeira....................... 15 Vocabulary Pronunciation....... 33
Origins of Capoeira................. 16 Additional Resources............... 35
Pre-Republican Capoeira........ 18 Mestre's Gallery........................ 36
Welcome to Capoeira UCA.
First of all, let's thank Mestre Galo, Mestra
Suelly, and Akal for editing this work.
This brief and informal guide will give you
some insight into general aspects of capoeira, as
well as some details about our school. It is designed
to help you understand our system of training, as
well as how you can get the most benefit from
practicing capoeira. If you are a novice and do not
want to read everything at once, please read the
Summary.
Capoeira is a complex art with a rich
historical trajectory, a full and meaningful cultural
context, and contradictory interpretations. To
acquire clear and comprehensive information on
capoeira requires a significant level of responsibility
from both the school and student. In the early
seventies, levels of proficiency were established to
accommodate students with different goals and
time invested in the study of capoeira.
Consequently, students will progress through
distinct levels in terms of physical and technical
capabilities, musical skills, and theoretical
knowledge. These levels help students to measure
their own progress and to visualize attainable goals.
This guide has specific information that we require
from our novices and advanced students as well. We
encourage you to learn as much as possible from it.
We hope that it inspires you to learn more about
capoeira outside of classes and to bring your
questions to us.
During classes, we will challenge you to
extend the limits of your physical possibilities, but
without losing perspective of the traditional values,
rituals, and other aspects inherent to capoeira.
Please, feel free to voice your concerns or questions,
to any of us.
Good luck and good jogos.
03
Abbreviated Summary
Capoeira is a four-century-old, African-
Brazilian art form that involves ritualized
fighting techniques, music, and practical
philosophy. It is practiced as a means of self
expression, self defense, and self growth in
Brazil, as well as in a large and growing
number of countries.
The legal name of our school is “Capoeira Arts
Foundation,” a 501 (c )(3) founded by Mestre
Acordeon* and his students in 1979. Mestre
Acordeon is a world-renowned capoeira
master who learned the art from the legendary
Mestre Bimba in Bahia, Brazil and is one of
the pioneers to bring Capoeira to North
America (1978).*
In 1992, Mestre Acordeon invited Mestre Rã
to join forces in teaching together, and both
founded the United Capoeira Association, an
umbrella for our associated schools teaching
throughout the United States. We refer to our
school in Berkeley as “UCA Capoeira –
Berkeley.” Other mestres of our association
are: Mestre Rã, currently living in Brazil;
Mestra Suelly (first American female Mestra)
in Berkeley; Mestre Calango also in Berkeley;
Mestre Galo in Denver; and Mestre Amunka
in Ukiah, CA.
Our approach to capoeira derives from the
traditional Capoeira Regional. This style of
capoeira was developed by Mestre Bimba (1889-1974), who was a very charismatic, highly respected,
and legendary Capoeira master. Mestre Bimba greatly contributed to the survival and growth of
Capoeira in the 20th century. He opened the first legal Capoeira school in Brazil and developed an
efficient method of teaching that brought respect to the practice of the art, while preserving its
authenticity and main characteristics.
Like most contemporary schools, our training system runs on annual cycles that begin and end with a
ceremony called “batizado.” During this ceremony, new students are welcomed into the school and
the work and progress of the more advanced students are acknowledged through a promotion to a
higher level. The levels are shown on the next page.
* More about Mestre Acordeon:
http://en.wikipedia.org/wiki/Bira Almeida
05
LEVELS OF DEVELOPMENT
Comprehensive Student Program: Levels I, II, and III
This program is designed to give the student a solid foundation in capoeira in terms of physical
development, historical understanding, and knowledge of capoeira music and rituals. A capoeirista
may remain at the level of cordão azul, the highest level in the Comprehensive Student Program, as
long as he or she wishes, continuing to develope their skills, knowledge, and enjoyment of capoeira.
Level I - Calouro(a): Term for the novice student who has not participated in her first batizado. At
this level, the student has no cordão (cord or belt).
Level II - Batizado(a): is a generic term for the student who has received his first cordão and is in
one of the following sub-levels:
Cordão verde (green cord)
Cordão verde/amarelo (green/yellow cord)
Cordão amarelo (yellow cord)
Level III - Graduado(a): Term for the students who pass to a blue cord capoeirista involving the
levels of:
Cordão verde/azul (green/blue cord)
Cordão amarelo/azul (yellow/blue cord)
Cordão azul (blue cord)
Level IV - Formando(a): Term for a stage in which the students polish their knowledge and skills
and decide whether to continue their training toward becoming a UCA-endorsed teacher.
Post-graduate levels: Levels V, VI, and VII
Level V - Formado(a) refers to individuals who have completed our student program and have
successfully achieved the goals set for the formandos. They are entitled to open their own school
under supervision of our association. Their cordão is a braid of green, yellow, and blue.
Level VI - Contramestre(a) refers to a formado who has significantly contributed to the school by
teaching and assisting their Mestre in many different ways and who wishes to develop a carreer as a
capoeira teacher (mestre).
Level VII - Mestre(a) is a traditional and valued title attributed to some capoeira teachers. To
become a mestre, the capoeirista must have a long career teaching capoeira and satisfy the following
requirements:
1) Be indicated to the title by a recognized and well-known teacher;
2) Gain unanimous acceptance as such by known mestres of the art; and
3) Achieve popular recognition within the larger capoeira community.
The four different levels of Mestre are:
Cordão verde/branco (green/white cord)
Cordão amarelo/branco (yellow/white cord)
Cordão azul/branco (blue/white cord)
Cordão branco (white cord)
06
Some common titles for those who teach or assist others teaching:
Monitor(a): for students at levels II and III who assist other teachers in their classes;
Instrutor(a): for students at the levels III and IV who are formally authorized to be
responsible for teaching and administrating capoeira programs;
Professor(a): for students at level V (Formado) who are teaching or who may conduct their
own capoeira schools.
Cover of little manual published in conjunction with the capoeira album recorded by
Mestre Bimba under the label J.S. Discos JLP-101, Salvador, BA.
07
Required Techniques For The First Level: Cordão Verde
Old mestres used to say that capoeira had 7 movements. The rest were improvisations done in the
heat of the jogo. Today, the number of techniques in capoeira has grown substantially. Students in
one level may learn and practice techniques from more advanced levels. However, they must know
well the ones required for his or her level.
During the examination for Cordão Verde, the calouro (novice) should demonstrate the
following movements:
I - FUNDAMENTAL MOVEMENT
Ginga, including variations such as “passa pra atrás por baixo” and “por cima”
II - ATAQUES (attacks)
Usando a cabeça (using head)
Cabeçada alta (also called arpão de cabeça) and cabeçada baixa
Usando as mãos (using hands)
Asfixiante
Cutila
Galopante and galopante com giro
Palma (leque and sometimes "cutila")
Usando o cotovelo (using elbow)
Cotovelada
Godeme
Usando o joelho (using knees)
Joelhada
Usando os pés (using feet)
Armada
Benção
Martelo
Meia-lua de frente
Meia-lua de compasso
Pisão
Ponteira
Queixada
Derrubadas ou Quedas (take-downs)
Arrastão or boca de calças
Rasteira de chão
Tesoura de costas
Tesoura de frente
Vingativa
08
III - DEFESAS (defensive movements)
Au aberto, au fechado, au com rolê, and au enrolado
Cocorinha de Mestre Bimba, cocorinha na ponta dos pés (on the ball of the feet)
Esquivas (escapes): defesa 1 (um), defesa 2 (dois), and defesa 3 (três)
Movimentos de Chão (floor techniques)
Escala
Negativa de ataque
Negativa de defesa (negativa de Mestre Bimba)
Ponte
Queda de Rins
Rolê Baixo
Troca de negativas
IV - MESTRE BIMBA'S SEQUÊNCIA
In addition to knowing the individual attacks and defenses, the calouro needs to be able to
demonstrate correctly with a partner the Sequência of Mestre Bimba, an important learning tool used
in Capoeira Regional.
Sequence order:
01 - Capoeirista A: Two meia-luas de frente, armada, au, and rolê
Capoeirista B: Two cocorinhas, negativa, and cabeçada
02 - Capoeirista A: Two queixadas, cocorinha, benção, au, and rolê
Capoeirista B: Two cocorinhas, armada, negativa, and cabeçada
03 - Capoeirista A: Two martelos, cocorinha, benção, au, and rolê
Capoeirista B: Two esquivas and palmas, armada, negativa, and cabeçada
04 - Capoeirista A: Two godemes, arrastão, au, and rolê
Capoeirista B: Two esquivas and palmas, galopante, negativa, and cabeçada
05 - Capoeirista A: Giro, joelhada, au, and rolê
Capoeirista B: Cabeçada alta (arpão de cabeça), negativa, and cabeçada
06 - Capoeirista A: Meia-lua de compasso, cocorinha, joelhada, au, and rolê
Capoeirista B: Cocorinha, meia-lua de compasso, negativa, and cabeçada
07 - Capoeirista A: Armada, cocorinha, benção, au, and rolê
Capoeirista B: Cocorinha, armada, negativa, and cabeçada
08 - Capoeirista A: Benção, au, and rolê
Capoeirista B: Negativa, cabeçada
09
In terms of music in capoeira, the novice should be able to:
A - Identify the following berimbau rhthyms:
! 1 - São Bento Grande de Angola:!! Press dobrão on the first clap and two hits open
! 2 - Cavalaria:!! ! ! ! Open, press, open
! 3 - São Bento Grande de Regional:! Open, open, and pressed
! 4 - Banguela:!! ! ! ! Open, press, "waw" sound with the gourd
! 5 - Angola:! ! ! ! ! Open, press, do not play the third clap
B - Know how to hold the berimbau and play the instruments in a basic manner as shown in the
following chart courtesy of Contramestre Galego from Capoeira Agua de Beber:
Instruments
This is a simple description of how to play the capoeira instruments. Played repetitively in a 4/4
rhythm.
Count 1 2 3 4
Instrument
Open note Smack Open
Pandeiro
(Thumb) (Hand) (Thumb)
Agogo Low High Low
Open Bass Open
Atabaque
(Fingers) (Palm) (Fingers)
Berimbau:
Sao Bento Grande
de Angola
Berimbau:
Sao Bento Grande
de Regional
Berimbau:
Angola
Berimbau Key:
The high note produced by pressing the dobrão (rock) firmly against the arame (wire)
The low not made by striking the arame without touching the dobrão
The double buzz sound produced by holding the dobrão lightly against the arame
No note or just the caxixi (shaker) played
10Fundamental Principals of Capoeira
- Ginga is the way of the capoeirista.
- The senior mestre is in charge of the classes and rodas.
- The berimbau commands the jogos and dictates their character and speed.
- The capoeiristas exercise respect for the mestres, their partners, and themselves.
- All present observe the particular rules of the academia (physical space for the practice).
Rules and Recomendations of Our School
- As with any other form of demanding physical activity, please consult your physician before taking
up capoeira classes, and let us know if you have any special conditions that we should be aware of.
- Capoeira is a vigorous art form that helps you to expand the limits of your perceived possibilities.
You are your own judge during practice, and it is your responsibility to minimize the chances of
getting hurt.
- Bring in only personal belongings that are necessary for class. We are not responsible for lost items
left in the dressing rooms or in any other area of the school.
- Please show up 10 minutes early to class to sign in and get prepared. It is important to start on time
because the beginning of the class is the warm up and explanation of the fundamental points of the
lesson.
- If you arrive late, please warm up properly on the side and ask the teacher for permission to join
class. Likewise, if you need to leave the mat for any reason, please let your teacher know.
- Wear your clean capoeira uniform and be sure that you are free of strong personal odor. We
recommend that you train barefoot, but, if absolutely necessary, you may use a soft-soled sneaker
such as ones specialized for martial arts.
- Consistency is important for your advancement, and we highly suggest that you attend as many
classes as you can and that you participate in the various extra training opportunities and social
activities that we promote from time to time.
- You will get the most benefit from a class in which you are fully engaged. As such, you will foster
positive energy for the group as a whole.
- Always pay attention to what the teacher is saying and doing, and try every movement that you are
requested to do, even if you aren’t confident in your ability. Ask for assistance if you need it.
- A good athlete must avoid injuries and properly manage those that she or he cannot avoid. Take
proper care of any injury you may incur in order to heal faster and to keep yourself strong. By the way,
our statistics show that most of our students' injuries happen while they are involved in other
activities outside of class.
- If you are injured, let your teacher know about your condition. Most of the time, even if you are not
feeling well, you still may benefit from coming to class to observe or to play instruments and learn the
songs. At the minimum, try to follow the lyrics of the chorus and to clap your hands with the rhythm.
11- Capoeira is a vast subject with lots of information and possibilities of learning and having fun. You
may participate in our informal music classes, Portuguese practice, additional workshops, and
frequent events of our affiliated schools and of other capoeira groups. Also, in addition to our in-
house store that carries many capoeira items, you may find articles, blogs, forums, videos, and
capoeira music and lyrics on the internet. Be curious and ask questions! Take responsibility for your
own learning.
- You will notice that in the capoeira world the teachers are addressed by their rank titles before their
nicknames, such as Mestre, Mestra, Contramestre(a), or Professor(a). This treatment is part of the
traditions of the art and is good manners.
- Last but not least, pay your dues on time and help our school to keep going strong and alive. We
consider ourselves a community in which its members are involved in its maintenance and growth. So
we expect you to assume responsibilities such as mopping the floor, writing grants, decorating the
studio for a party, bringing friends, and volunteering in a broad range of activities the school may
need. Remember, this is your academia de capoeira!
- To join the students' list contact: ProfessorRecruta.uca@gmail.com or go to the address below
and click on “Join this group!” at the right top button:
http://sports.groups.yahoo.com/group/CafeCapoeiristas/
Our websites:
our schools: www.capoeira.bz.
our store: www.capoeiraarts.com
our main organization: www.capoeiraartsfoundation.org
our social project in Brazil: http://www.projetokirimure.org/
our partner in Berkeley: www.brasarte.com
12ADDITIONAL INFORMATION FOR ALL
The Capoeira Arts Foundation
Capoeira UCA is part of the Capoeira Arts Foundation (CAF). CAF was founded in 1981 under
the name of World Capoeira Association. Its founding was a visionary leap toward the establishment
of capoeira in the United States. In 2000, World Capoeira Association changed its name to Capoeira
Arts Foundation, and a long-term plan was launched to continue preserving, teaching, and
performing capoeira, as well as other arts related to African-Brazilian culture.
The goal of the Capoeira Arts Foundation is to create awareness of the depth and breadth of the
African-Brazilian experience, with its primary focus on capoeira, a rich hybrid fight-like dance, dance-
like fight, ritual, and way of life. To achieve its mission, CAF also presents artistic, social, and cultural
events that aim to strengthen the community; publishes written works; produces musical recordings
and documentary films; and is the primary supporter of Projeto Kirimurê, a project for disadvantaged
youth in the neighborhood of Itapoã, in Salvador, Bahia, Brazil. This diverse body of work attends to
and supports the human and aesthetic values of our broad community. CAF welcomes similar
organizations and individuals to participate in an ongoing dialogue of ideas and to develop
collaborative projects that challenge and bring out the best in all of us.
The acronym UCA in our logo stands for “United Capoeira Association.” UCA was born of Mestre
Acordeon's and Mestre Rã's desire to create an organization in which they could work together with
similar philosophical ideals while preserving their own identities. Mestre Rã worked with Mestre
Acordeon from 1992 to 2006, when he moved back to his school in Jundiai, São Paulo, Brazil. He is
still an active mestre of UCA, along with Mestra Suelly, Mestre Galo, Mestre Calango, and Mestre
Amunka. Today, some of their students teach capoeira in different locations under the umbrella of the
United Capoeira Association. To learn more about our associated schools, go to www.capoeira.bz.
Many teachers in today’s capoeira world have embraced the system of "groups" as the paradigm
of capoeira organizations, a strategy which has been very positive for the growth of capoeira and for
the survival of many. However, Mestre Acordeon comes from a time when the concept of group was
yet to be developed. Therefore, we are not a large “group” as understood in the capoeira context, nor
are we interested in many chapters. We strive to have a small community of students that appreciate
the collective work we try to develop with respect for all capoeira tendencies and approaches in Brazil
and abroad.
Substantial part of the Capoeira Arts Foundation revenues are dedicated to the Instituto Mestre
Acordeon in Brazil. This non-profit organization carries on the valued social Projeto Kirimurê. Our
vision regarding Projeto Kirimurê is to see young children from Itapoã, Bahia, Brazil learning about
human values, social responsibility, and environmental education in order to empower them to
choose a positive path in life and to influence their communities. We provide training tools to
complement their limited formal education. Those kids are chosen from a neighborhood with a great
number of under privileged inhabitants who suffer from lack of formal education, consequences of
drug trafficking, and family violence. Our main emphasis is on the teaching of capoeira as a tool of
personal transformation through discipline, self-knowledge, and mutual respect. We also offer other
activities such as literacy classes, homework help, psychological follow up, and field trips to cultural
events and organizations. Lastly, Projeto Kirimurê promotes an environment of beneficial cultural
exchange between capoeiristas from schools in the United States and the youth of Itapoã.
14About Capoeira
(An adapted excerpt from the article “Capoeira: An Introductory History” by Mestre Acordeon)
Since 1978, when I began teaching capoeira in the United States, the number of people
interested in this African-rooted art form has grown from a few curious individuals to a substantial
community of thousands of Americans. Valued as an expressive and enticing art from a different
cultural context, a subject of academic study, a means of physical conditioning, and a form of self-
defense, capoeira has captured the imagination and the attention of many.
Capoeira is an art form that involves movement, music, and elements of practical philosophy.
One experiences the essence of capoeira by playing a physical game called "jogo de capoeira" (game of
capoeira) or simply “jogo.” During this ritualized combat, two capoeiristas (players of capoeira)
exchange movements of attack and defense in a constant flow while observing rituals and proper
manners of the art. Both players attempt to control the space by confusing the opponent with feints
and deceptive moves. During the jogo, the capoeiristas explore their strengths and weaknesses, fears
and fatigue in a sometimes frustrating, but nevertheless enjoyable, challenging, and constant process
of personal expression, self-reflection, and growth.
The speed and character of the jogo are generally determined by the many different rhythms of
the berimbau, a one-string musical bow, which is considered to be the primary symbol of this art
form. The berimbau is complemented by the pandeiro (tambourine), atabaque (single-headed
standing drum), agogô (double bell), and reco-reco (grooved segment of bamboo scraped with a stick)
to form a unique ensemble of instruments. Inspiring solos and collective singing in a call-and-
response dialogue join the hypnotic percussion to complete the musical ambiance for the capoeira
session. The session is called "roda de capoeira," literally "capoeira wheel," or simply "roda." The term
roda, refers to the ring of participants that define the physical space for the two capoeiristas engaged
in the ritualized combat.
15Origins
Between the years of 1500 and 1888, almost four million souls crossed the Atlantic in the
disease-ridden slave ships of the Portuguese Crown. The signing of the Queiroz Law prohibiting slave
traffic in 1850 was not strong enough to empty the sails of the tumbadores (slave ships) crossing the
ocean. Many Africans were still forced to face the "middle passage" and were smuggled into Brazil.
The ethnocultural contributions of this massive forced human migration, along with those of the
native inhabitants of the colony and those of the Europeans from Portugal, shaped the people and the
culture of Brazil. It is unquestionable that from the Africans, we inherited the essential elements of
capoeira. This is evident in the aesthetics of movement and musical structure of the art, in its rituals
and philosophical principles, as well as in historical accounts of the ethnicity of those who practiced
capoeira in the past.
Three main lines of thought concerning the origins of capoeira have been introduced throughout
the times: capoeira was already formed in Africa; capoeira was created by Africans and their
descendants in the rural areas of colonial Brazil; and capoeira was created by Africans and their
descendants in one of the major Brazilian urban centers. Arguments supporting these theories have
long been discussed. It is undisputed that capoeira is an elusive "chameleonic-like" art form that has
assumed many shapes throughout its existence. Change, however, has never been able to wring out
capoeira's soul, or extirpate its formative seeds, the common denominator threading together all the
shapes capoeira has assumed. Capoeira's spirit, its innate capacity to resist pressure through a
deceptive strategy of adaptability and "non-direct" confrontation of opposing forces, is one of the
essences that exudes from its African roots.
Capoeira is not the only popular expression that derived from the same formative elements.
African in essence, these elements are present in other African-rooted art forms, such as the dances
mani from Cuba and laghya from Martinique, or in other purely African cultural expressions, such as
the ceremonial dance n'golo from Angola. In many ways, these arts resemble capoeira. However,
common structural elements that have coalesced in different geographic and cultural environments
result in different outcomes. In spite of capoeira's mutant, broad, and diffuse contours that may
obfuscate those who are not experienced enough to understand the art's complexities and
contradictions, capoeira remains a distinct and well-recognized popular cultural expression that has
been practiced in Brazil for centuries. As the venerable capoeira teacher Mestre Pastinha said:
"Capoeira is capoeira...is capoeira...is capoeira.”
Some questions related to the formative period of capoeira still remain unanswered. When, how,
and why did capoeira emerge in Brazil? From what specific cultural groups did it come, and from
which original art forms did it derive? The difficulty in answering these questions resides in a few
factors. Until the late 1970s, the scarcity of known written registers of capoeira was a big impediment
for a more comprehensive understanding of capoeira history. Another obstacle to the unveiling of
capoeira’s past is the absence of an oral tradition that reaches as far back as the pre-dawn of the art.
Fortunately, over the last decades, capoeira has been a subject of many academic studies in fields such
as history, sociology, anthropology, ethnomusicology, politics, physical education, and arts. This
growing process of investigations will bring up new lights on the origins and development of capoeira.
16Pre-Republican Capoeira
From the 1500s until 1822
Brazil was a Portuguese
colony. After a short
monarchic period of sixty-
seven years and immediately
after the official abolition of
slavery, Brazil became a
republic in 1889. This last
period was a time of
profound socio-economic
change and transformation
that shook the political
structure of the country. The
different forms of capoeira
documented through oral
tradition and written
accounts, which thrived from
the middle of the sixteenth
century through the end of
the nineteenth, are grouped
under the label Pre-Republican Capoeira. This period was an era of mystery, an era of the paintings of
Rugendas and Debret, the saga of the Quilombos dos Palmares and Zumbi, the era of extraordinary
conflict of an enslaved people and their oppressors, an era of romantic historical accounts. Nowadays,
the academic study of this period is substantial, from the maltas and malandros of Rio de Janeiro to
the capoeira steps as precursors to the frevo dance in Recife. Since then, capoeira has been a means of
self-expression, a means of connection with the ancestors, an expression of freedom, and,
encompassing all of that, a weapon of survival.
In the last days of the Brazilian Empire, conflicts between Republicans and Monarchists
occurred frequently. The streets of Rio de Janeiro were the stage of actual battles that involved a large
number of participants, including many capoeiristas. They caused a big itch to the established society
who lived in discomfort, confronting the fears of cabeçadas, martelos, club strikes, and straight razor
blades, a favorite weapon of the malandros at the time. The police records of this time listed
thousands of capoeiristas, which leads us to wonder how many mestres existed, how many personal
styles were displayed, how many movements were able to kill enemies? The physical displays of
capoeira at that time were generally called vadiação (a term with various meanings related to playing
around, doing nothing), malandragem (implied in the activity of bums, deceitfulness, street smarts,
cunning), capoeiragem, or simply, “capoeira.” Common to all manifestations of capoeira until recent
years was the constant attention the art received from the social mechanisms of repression. Capoeira
activities were a magnet for the police.
In capoeira songs and texts, you will find references to Quilombos, Zumbi, Nzinga, Princesa
Isabel, the Guarda Negra, and so on. Wikipedia contains numerous references about this historical
period.
181900s Repressed Street Capoeira
After the proclamation of the Republic of Brazil in 1889, the attempt to contain the trouble-
making activities of the capoeiristas was intensified. Indeed, the capoeiristas received specific
mention in the first Penal Code of the Republic of the United States of Brazil (Código Penal da
República dos Estados Unidos do Brasil), instituted by decree on October 11, 1890:
Art. 402. To perform on the streets or public squares the exercise of agility and corporal
dexterity known by the name, capoeiragem; to run with weapons or instruments capable of inflicting
bodily injuries, provoke turmoil, threaten certain or uncertain persons, or incite fear of bad actions;
Sentence: prison cell for two to six months (Oscar Soares 1904).
The Republican police enforcement was severe, and tales of persecution are abundant. Many
capoeiristas would run when the police squadron arrived. Others were put in jail or deported, and
some would bribe the police to let them go. Within this struggle, which lasted until the end of the
1920s, the capoeira from Bahia began to emerge, initiating its almost mythological journey to
influence the present-day shape and display of the art form. It became noticed for its soulful
characteristics: songs with noticeably African melodic lines and occasional terms from different
African dialects, playfulness, and theatrics. Perhaps, applying an unconscious strategy in a demanding
game of survival, capoeira had changed again, disguising its fierce fighting characteristics that had
been described in past written accounts.
During these troubled times, it is known that good capoeiristas hid their art far from the most
visible locations. The lore of the art is full of great fighters, such as Pedro Porreta, Chico Tres Pedaços,
and the famous Bezouro Mangangá, and a little later, Tiburcinho, Bilusca, Maré, Noronha, Americo
Pequeno, Juvenal da Cruz, Manoel Rozendo, Delfino Teles, João Clarindo, Livino Diogo, and
Francisco Sales.
Amongst those who kept capoeira alive, a giant was born in Bahia. Manuel dos Reis Machado
emerged to become venerated as the most extraordinary personality in the historical trajectory of
capoeira. He is recognized all over the world as Mestre Bimba, the creator of the Capoeira Regional.
19Capoeira Regional
Manuel dos Reis Machado
(1889-1974), nicknamed Bimba, began
to learn capoeira at the age of 10 from
an African called Bentinho who
worked as a captain for the Bahian
Company of Navigation. For many
years he honed his skills, practicing the
traditional capoeira from Bahia to
become considered one of its great
artists. In the mid 1920s he developed
his innovative style that went on to
influence the destiny of capoeira. His
work emerged in a time of complex
political and cultural circumstances.
This scenario instigated an
extraordinary amount of
interpretations regarding his motives
and methods. Unquestionably a full
plate for the scholars, Mestre Bimba
lived a simple life deeply rooted in his
ancestors' culture. Because of his
character, dignity, and wisdom, he was
considered by his peers and the
Bahians in general as one of the most
expressive and influential African-
Brazilian personalities of the time.
Early in his teaching career—
according to Bimba himself—in
reaction to the sloppiness of some of
the capoeira displayed on the streets of
Bahia, he resolved to train his students to become powerful fighters. To demonstrate the validity of
his training method, he challenged capoeiristas and fighters from other disciplines, winning these
public matches. In the early 1930s, attracted by the Mestre’s charismatic teaching, a large number of
students joined his school, helping to generate a momentum that propelled capoeira forward in terms
of general acceptance.
The growth of Mestre Bimba's style would not have been possible if he had not opened a formal
and legalized school. Prior to him, capoeira had been mainly practiced as a weekend pastime, played
in the street and informally learned on the spot. The “academia de Mestre Bimba” was officially
registered with the Office of Education, Health and Public Assistance of Bahia in 1937. This set a
precedent for greater tolerance towards the practice of other African-Brazilian popular expressions.
The school was registered under the name of Centro de Cultura Física Regional (Center of Regional
Physical Culture). Because of his school's name, which also offered a way around the legal prohibition
of capoeira, the term Capoeira Regional was reinforced and definitively established as the
denomination of Mestre Bimba's style.
20Why “Regional?”
For Mestre Bimba, “Regional” was Bahia—the immediate local universe that embodied the
“baiano” quality of his art; an implicit respect for its inherent African connections.
In reality “Bahia” is correctly called “Salvador,” the capital city of the large state of Bahia. Seated
atop hills and surrounded by sunny beaches and green valleys, Salvador has been a fortress of African
culture in Brazil, from which arises today’s capoeira. Its imaginary and mystical body has a unique
significance for its sons and daughters who simply call it “Bahia.” To be "African in Bahia" and
simultaneously "just Brazilian," especially in Mestre Bimba’s time, was naturally accepted by all
baianos, without needing to be explicitly voiced or displayed with some obviousness. It is the result of
a state of immersion in an environment in which the sacred and profane mingle, regulated by the will
of the orixás as an integral part of everyday life. “Capoeira Regional” means all that.
Mestre Bimba's approach encompassed the following: teaching in an enclosed physical space
that was conducive to a more focused practice; the introduction of a systematic training method; the
use of a specific musical ensemble of one berimbau and two pandeiros; and an emphasis placed on the
toques de berimbau (berimbau rhythms) of São Bento grande, banguela and iuna. Those rhythms
mandated jogos with specific characteristics: being more fight-oriented, more co-operative and
demonstration-like, or involving movements from the cintura desprezada, respectively. The capoeira
of Mestre Bimba had a medium-paced cadence that allowed the capoeiristas to ginga strategically
with manha, malicia, and elegance. Following the berimbau command, the capoeiristas were guided
in an intricate and dynamic display of attacks, defenses, and a tricky juke-like swing to confuse
opponents. Mestre Bimba did not include in his style some movements from the capoeira at the time
that he did not like and introduced other of his own and from batuque, a vigorous foot-sweeping
dance that he learned from his father. It was a brilliant and subtle adaptation of a traditional artform
that brought out its most fight-like capabilities inherent in the historical tradition of capoeira. Some
argue that the creation of Capoeira Regional was Mestre Bimba’s intentional response to a
nationalistic effort based in Rio de Janeiro to put forth a kind of an official Brazilian physical
education system that was based on European models.
Mestre Bimba's most important
contribution was perhaps the
revolutionary achievement of turning an
activity outlawed by the dominant elites
and on the brink of extintion into a freely
practiced popular art form that became a
prestigious and potent means of cultural
and self expression. On June 12, 1996, the
Federal University of Bahia unanimously
gave a title of Doctor Honoris Causa to
Manoel dos Reis Machado, and in 2008,
capoeira was proclamed by the Brazilian
Government as being a national treasure,
a cultural legacy of humanity.
21Capoeira Angola
The easing of repression on popular expressions during the
government of Getulio Vargas in the mid-thirties made the timing
right for Mestre Bimba's concept to be realized. Other capoeiristas
followed in his footsteps. Amorzinho, Aberrê, Antônio Maré, Daniel
Noronha, Onça Preta, and Livino Diogo all became involved in the
quest to create an organization to facilitate the practice of their
capoeira in this new stage of the art's development.
From amongst those involved in this quest, Vicente Joaquim
Ferreira Pastinha, Mestre Pastinha, distinguished himself by
founding the second capoeira association after Mestre Bimba. In his
own book Pastinha explained, "On February 23, 1941, in the
Jingibirra at the end of the neighborhod of Liberdade, this center
was born. Why? It was Vicente Ferreira Pastinha who gave the name
Centro Esportivo de Capoeira Angola [Sports Center of Capoeira
Angola]" (In Decânio, 1994: 4a).
In his pursuit of organizing his beloved capoeira, Mestre
Pastinha mobilized his students, other capoeiristas, and politically
influential friends to formally establish a permanent home for his
school. After years of struggle and long periods of inactivity, on
October 1, 1952, the Centro de Capoeira Angola was officially
installed at the Largo do Pelourinho (Pelourinho Plaza) in Salvador,
Bahia.
Mestre Pastinha was an extraordinary character – innovative, wise, and open-minded. Well-
deserved for his total commitment to capoeira, his work and wisdom, Vicente Pastinha, son of a
Spaniard and a Brazilian woman of African descent, became the primary historical point of reference
for the practitioners of today’s Capoeira Angola and for those concerned with his unique philosophical
approach to capoeira.
Capoeira Angola is characterized by a focus on rituals of the game, an emphasis on playfulness
and theatrics of the movement, and with a high degree of combat simulation. For a long time after the
turn of the twentieth century it was
predominantly an amusement on weekends
and in open plaza festivities. Nowadays, in
the broad scope of capoeira in Brazil,
Capoeira Angola has its niche, recognized as
having importance within the historical and
contemporary context of capoeira. As time
goes by, today’s Capoeira Angola gives more
conscious attention to a body language and a
gestural lexicon related to a selected aesthetic
perceived as belonging to African dance
forms and rituals.
22Present Day Capoeira
Before Mestre Bimba there were
many stylistic displays of capoeira
in all its aspects of fight, dance,
pastime, ritual, mannerisms, and
different social behaviors.
However, none of them gained
center stage as a defined approach
to capoeira.
Both Capoeira Regional and
Capoeira Angola have generated
new schools and styles based upon
interpretations of the teachings of
Mestre Bimba and Mestre
Pastinha. Some of these schools
have attempted to maintain the
characteristics of the original styles
of these great mestres, while others
have embraced both, while
developing their own
characteristics and styles.
Mestre Acordeon was a student
of Mestre Bimba, and we are
predominantely a school of
Capoeira Regional. We also
understand the need to
incorporate elements of today's
capoeira into our teaching and to
encourage our students to interact
with capoeiristas from other styles
without losing the particularities of
our game.
23About the Music
The music of capoeira has the potential to become a means for understanding the past and
present universe of the art form, as well as constructing the present reality of the capoeira that is lived
by a particular community. In this case, "capoeira community" does not refer to the social gathering
of students that naturally occurs in all schools, but to a strong body synergistically greater than the
individuals who belongs to that "particular community." The materialization of this community
should be felt as a magical presence in the terreiro in which the capoeira practice happens.
We place great emphasis on the knowledge of the instruments, their rhythmical elements, and
the performance of the capoeira music at our maximum potential. This helps to summon the soul and
energyto the rodas. There is a big distinction between some physical aspects of the music such as
speed and volume, and the "axé"— as a kind of constructive energy. Axé happens when the respect for
the music, properly tuned berimbaus, sensitive playing of the instruments, singing in the right pitch,
and concern with the maintenance of a harmonious ensemble are present.
All the multiple facets of being a capoeirista are facilitated and enhanced through the music.
These facets are to sing, to play instruments, to play capoeira, to laugh, to cry, to think, to love, to care
for our brothers and sisters, to care for our school, and to live as a full human being.
24Until the early twenties, there was not a defined composition for the instruments in capoeira
accepted by all teachers. In Mestre Bimba’s school, he used one berimbau and two pandeiros,
emphasizing the idea that the berimbau is the leader of the roda, deciding the character of the game,
its variations, and length. Therefore, one of the fundamentals of playing Capoeira Regional is to use
exclusively one berimbau and two pandeiros. We keep this tradition when we play Capoeira
Regional.
In the late sixties, a bateria with 3 berimbaus, 2 pandeiros, 1 atabaque, 1 agogô bell, and 1
reco-reco became predominant. We frequently use this bateria organizing the order of instruments as
follows (left to right as one faces it): reco-reco, pandeiro, berimbau viola (treble one), berimbau de
centro ou medio, berimbau gunga (bass one), atabaque, and agogô.
There are several ways to tune the berimbaus and to sing to them. One that is simple to do and
that makes it easier to find the right pitch is to tune the berimbau medio and the viola one step above
the gunga. In this case, the gunga plays the rhythm called Angola, the medio plays São Bento grande
de Angola in a kind of inversion in the use of the dobrão, and the viola will make variations, repicando
in a syncopated fashion and ending the rhythmical cicle with a “closed note” (when the dobrão is
pressed against the string to obtain the highest note of the instrument).
Rhythms that we play during the jogos in our school:
For the Capoeira Regional: São Bento grande, banguela, and Iuna.
For any other style: Angola, São Bento grande de Angola, São Bento pequeno, and other
variations.
25Ladainhas
The puxador (soloist) begins alone after the cry of the "Ie" which defines who will sing next. The
ladainha tells a story in the form of a lament. For some, the "ladainhas" are influenced perhaps by
Islamic prayer, and for others, by the cry of Brazilian cattle herders while travelling long distances.
Twhatever its origins, the ladainhas set up an atmosphere of anticipation and call for attentioin of all
the capoeiristas present. It is a moment of reflection and solemnity. Messages may be sent by the
singer, from the hail of a historical character to a challenge of his or her partner; from the salute to a
mestre, to the invocation of ancestral powers. Squatting beneath the berimbaus, the capoeiristas
about to play concentrate, meditate, and pray within his or her own mystical universe, psyching
themselves up to the important moment of vadiarem (an old term for the jogo de capoeira).
Canto de Entrada
When the ladainha ends, a new song style begin. It is called canto de entrada, louvação, or
sometimes chulas. It is a salute initiated by the cantador (also the soloist) or puxador and answered
by a chorus of all the presents. The puxador always will begin with the salute "Ie viva meu Deus" (Ie
longlive my God). The chorus will always respond with the same exclamation, adding at the end of the
setence the word “camará," which is a corruption of the word camarada (friend). This louvation
extends to the mestres, cities they come from, many other subjects they want to salute, as well to the
other person that the capoeirista is about to play. For instance:
Soloist: Ieh Viva Meu Mestre.
Chorus: Ieh, Viva Meu Mestre, camará.
Soloist: Ieh que me ensinou
Chorus: Ieh, que me ensinou, camará
Soloist: Ieh a capoeira
Chorus: Ieh, a capoeira, camará.
We use this song to formally end our class. It means: “Long live my teacher who taught me
capoeira, comrade.”
The last line in the canto de entrada should be “iê, volta do mundo,” which means “let’s go
around the world.” This is the signal for the jogadores (players) to begin the jogo.
Ouadras (quatrains), Corridos (free running rhymes), and Chulas
In this part is included a great variety of songs styles, from old samba de rodas, batuques,
afoxés, and other genders of folk music to contemporary songs written specifically for capoeira. That
is the moment in which the jogo is allowed to begin. It is common for the puxadores to take turns
improvising and challenging each other.
Throughout time, capoeira lyrics, the poetic voice of underprivileged people, have reflected their
unique perspective of the universe, including the simple mundane reality of daily life. This reality is
not unique to capoeira, but is reflected in many other art forms of the Afro-Brazilian diaspora. Lyrics
have been studied from socio-etnographic, socio-political, regionalistic, spiritual/religious, and
folklore perspectives. These studies began in mid 1930s, much earlier than any other academic study
of capoeira as a movement form.
26A CAPOEIRA SONG TO PRACTICE
Berimbau de Ouro
by Mestre Acordeon
Lead singers: Mestre Acordeon, Destino, andProfessor Cravo
From the CD: Cantigas de Capoeira
O meu berimbau de ouro minha mãe eu deixei no Gantoi (2x)
É um gunga bem falante que dá gosto de tocar
Eu deixei com Menininha para ela abençoá
Amanhá as sete horas, pra Bahia eu vou voltá
Vou buscar meu berimbau, que deixei no Gantoi, ha, ha!
Iê viva meu Deus!
CHORUS: EH VIVA MEU DEUS, CAMARÁ!
Ai, ai Aidê, Joga bonito que eu quero ver
CHORUS: AI, AI, AIDÊ
Joga bonito qu’eu quero aprender
Joga bonito que eu quero ver
Como vai como passou, como vai vosmicê
Angola ê, angola, angola ê, mandigueira, angola
CHORUS: ANGOLA EH, ANGOLA, ANGOLA EHMANDIGUEIRA, ANGOLA
Angola ê, angola angola ê, mandigueira, angola
Vou m’imbora pra Bahia, amanhã eu vou pra lá,
vou jogar a capoeira no Mercado Popular
Paranauê, Paranauê, Paraná
CHORUS: PARANAUÊ, PARANAUÊ, PARANÁ
Paranauê, Paranauê, Paraná
Vou m’imbora, vou m’imbora, como já disse que vou Paraná
Paranauê, Paranauê, Paraná, Paranauê, Paranauê, Paraná
Eh vim lá da Bahia pra lhe ver
Eh vim lá da Bahia pra lhe ver
Eh vim lá da Bahia pra lhe ver, pra lhe ver
CHORUS: VIM LÁ DA BAHIA PRA LHE VER
VIM LÁ DA BAHIA PRA LHE VER
VIM LÁ DA BAHIA PRA LHE VER,
PRA LHE VER, PRA LHE VER, PRA LHE VER, PRA LHE VER
Pra lhe ver, pra lhe ver, pra lhe ver, pra lhe ver, pra lhe ver (2x)
Vim lá da Bahia pra lhe ver (2x)
Vim lá da Bahia pra lhe ver, pra lhe ver, pra lhe ver, pra lhe ver, pra lhe ver
Pra lhe ver, pra lhe ver, pra lhe ver, pra lhe ver, pra lhe ver
27Vou manda lecô
CHORUS: CAJUÊ
Vou manda loiá…
O meu berimbau de ouro minha mãe, eu deixei no Gantois
O meu berimbau de ouro minha mãe, eu deixei no Gantoois
Eu saí da minha terra por ter sina viajeira
Caminhando pelo mundo, ensinando capoeira
Amanhá as sete horas p´ra Bahia vou voltar
Vou buscar meu berimbau, que deixei no Gantoi, camaradinho...
Ieh ê hora é hora...
CHORUS: IEH Ê HORA , Ê HORA, CAMARÁ...
Eh sacode a poeira, embalança, embalança, embalança, embalança
CHORUS: EH SACODE A POEIRA, EMBALANÇA, EMBALANÇA, EMBALANÇA,
EMBALANÇA.
Eh sacode a poeira, embalança, embalança, embalança, embalança
Meu berimbau é feito de berimba, uma cabaça bem maneira, Mestre Bimba quem me deu.
Entra na roda abre o peito e sai falando, toca Iuna e Banguela mostra o som que Deus lhe deu.
O meu berimbau de ouro
minha mãe, eu deixei no
Gantois
O meu berimbau de ouro
minha mãe, eu deixei no
Gantois
O sinhô amigo meu veja bem
o meu cantá
Ando muito ocupado, não sei
quando vou voltar
Pr’a buscar meu berimbau,
que deixei no Gantoi,
camaradinho
Eh da volta ao mundo
CHORUS: IE DA
VOLTA AO MUNDO,
CAMARÁ
Ai, ai, Aidê, joga bonito que
eu quero ver
CHORUS: AI, AI,
AIDÊ,
(Section of improvisation)
O meu berimbau de ouro eu
deixei no Gantois
2829
30
Moving Through the Levels of Capoeira
By Mestre Acordeon in “Capoeira: A Brazilian Art Form” by North Atlantic Books
“The career of the capoeirista begins with the batizado. From their first jogo to the point of
fully understanding the art, students will spend many years constantly training and probing
their weaknesses, facing the treacheries of life with open eyes. During this time, they will be
physically, mentally and spiritually challenged as they strive toward a well-rounded study of
the art. An isolated focus on any one of those aspects will bring limited results and shortsighted
capoeiristas.
The journey through the stages of development will be continuous with no abrupt
advances along the way. Students cannot jump from one plateau to the next but must climb
through them slowly and carefully, following a natural process that comes from dedicated
training and a feeling of well being in the art. It never should be a hasty and neurotic attempt to
progress prematurely, or a plunge into unhealthy and excessive work toward unattainable
goals. Capoeiristas, however, must fully commit themselves in every jogo, continuously striving
to play beyond falsely perceived points that we may believe to be our limits. Seemingly
limitations of knowledge, age, or even experience over opponents should not cause capoeiristas
to give up striving toward their full potential, nor should the amount of toil, occasional pains,
or previous failure discourage anyone from starting anew each jogo.
The goals one sets in Capoeira define the categories of discipulo (calouro, batizado,
formando, and formado); contramestre, and mestre. The majority of capoeiristas are disciples
who live the art as a complementary activity to the other activities in their life. They are
satisfied simply to have capoeira in their hearts and to improve the quality of their lives
through its practice.
Contramestres are capoeiristas who definitely have reached the maximum of their
physical potential, who dedicate time to internalize the philosophy of capoeira, and who have a
strong desire to pass on the tradition of the art
Mestres are those who have crossed the paths of discipulo and contramestre, who totally
open themselves to an understanding of the spiritual dimension of the art, and who are totally
committed to devote a lifetime helping others discover, enjoy and become initiated into
capoeira."
32Written words of the “Vocabulary Pronunciation”
Last track on our CD “2009 Capoeira-Bahia”
Academia Atabaque
Academia de capoeira Rum
Aula de capoeira Rumpi
Uma aula de capoeira numa academia Le
Corda Atabaque
Ou (or)cordão
Corda Agogô
Cordão
Cordões Reco reco
Cordão verde
Masculine in O Capoeira regional
Feminine A
Cantigas de capoeira
Calouro
Caloura Cantiga
Formando Puxa o côro
Formanda O puxado da cantiga
Puxar o côro
Formado
Formada Ladainha
Canto de entrada
Professor Quadras ou corridos
Professora
Professores Ladainha
Louvação
Bateria
Xaranga
Orquestra Toque de berimbau
Berimbau Regional
Verga
Madeira São Bento grande
Biriba Banguela
Iuna
Arame de aço Cavalaria
Aço Santa Maria
Amazonas
Dobrão Idalina
Pedra Hino da capoeira
Baqueta São Bento Pequeno
Vareta Samango
Caxixi Miudinho
Pandeiro São Bento grande
Couro Banguela
Platinela or xuá Iuna
33Movimentos de ataque Giro
Movimentos de ataque Giro em pé
Movimentos de defesa Escorão
Movimentos de floreio Benção
Balões
Quedas Tesoura de frente
Ritual Tesoura de costas
Rituais Cintura desprezada
Mandinga Cotuvelada, cotuvelo
Mandigar Joelhada,joelho
Mandigueiro Girar
Mandigueira Giro alto
Ginga Au enrolado
Gingar Rolê
Descer Pastinha
Desce Mestre Pastinha not pastina
Subir Mestre Canjiquinha not Canjiquina
Sobe Catarina not Catarinha
Jogue Idalina not Idalinha
Jogar capoeira
Jogue em baixo
Jogue no chão
Jogar dentro
Jogue dentro
Jogar solto
Jogue solto
Jogue seguro
Jogar seguro
Jogue duro
Armada
Meia lua
Meia lua de frente
Meia lua de compasso
Martelo
Ponteira
Queixada
Au
Cocorinha
Tesoura
Boca de calças
Arqueado
Asfixiante
Cotuvelada
Joelhada
Passa pra traz
Au chibata
Queda de rins
Crucifixo
34To learn more about capoeira history and philosophy, we recommend:
ALMEIDA, Bira (Mestre Acordeon), Capoeira: A Brazilian Art Form: History, Philsophy and
Practice; Berkeley, CA: North Atlantic Books, 1986.
ASSUNÇÃO, Mathias Rohrig, Capoeira: The History of An Afro-Brazilian Martial Art; New York,
NY: Taylor & Francis Inc, 2005.
CAPOEIRA, Nestor, Capoeira: Roots of the Dance-Fight-Game; Berkely, CA: North Atlantic Books,
2002.
On the Internet (Copy and Paste):
THE HERITAGE OF MESTRE BIMBA - AFRICAN PHILOSOPHY AND LOGIC OF CAPOEIRA
By Angelo Decânio Filho Translated to English by Shayne Mchugh
http://www.capoeira-connection.com/main/downloads/Heritage_Bimba.pdf
THE HERITAGE OF PASTINHA
By Angelo Decânio Filho Translated to English by Shayne Mchugh
http://www.capoeira-connection.com/main/downloads/Heritage_Pastinha.pdf
Berimbau Africano (Madosini Manqina)
http://www.youtube.com/watch?v=z2AORnJlUdw&feature=related
Naná Vasconcelos Playing the Berimbau
http://www.youtube.com/watch?v=dFbd3GLVikU&feature=related
Berimbau Blues, Dinho Nascimento no PercPan 2007
http://www.youtube.com/watch?v=2sFkoXyNEY8&feature=related
A Capoeira Lyrics Website: Capoeira Connection
http://www.capoeira-connection.com/main/content/view/162/73/
Jogo Perigoso: Mestre Acordeon & The Capoeira Arts Café By Diallo Jeffery
http://www.youtube.com/watch?v=OnyLuUD8iek
Mestre Lourimbau
http://www.youtube.com/watch?v=qDfIdA1EjvM
35MESTRES DE CAPOEIRA: WHO ARE THEY THEY?
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